Plot
While Michael Scott (Steve Carell) leaves with Dwight Schrute (Rainn Wilson) to sign closing papers for his new condominium, the staff fills out their expense reports. Jim Halpert (John Krasinski) "dies" of boredom, and Pam Beesly (Jenna Fischer) revives him by calling him to the reception desk and throwing objects into Dwight's coffee mug. Jim discovers that his co-workers have their own office games, and he and Pam organize the Games of the First Dunder-Mifflin Olympiad, competing for hand-made medals constructed from yogurt lids and paper clips.
At the condominium signing, Michael discusses the deal with his realtor, Carol Stills (Nancy Walls). Dwight finds a variety of things wrong with the condominium, and, at the very end of the deal, Michael gets cold feet but relents when he learns that backing out of the deal will cost him a substantial amount of money.
A coffee cup race quickly dissolves when Michael and Dwight return, and the office returns to normal. Michael isolates himself in his office, still upset over the closure of his condo. Undeterred, Jim and Pam organize the "closing ceremonies", awarding Michael the gold medal for closing on his condo. They also award Dwight the silver medal for unknown reasons. Michael feels touched by this and thanks everyone for the honor.
Read more about this topic: Office Olympics
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
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